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Joan Selects - the complete Joan Selects Collection

Big Ten Inchers - 78rpm rips by El Enmascarado


Attention Mac Users!

Mac users have been experiencing problems in unpacking the WinRAR archives used on this blog. Two solutions have been suggested.

1. Use The Unarchiver - www.theunarchiver.com - see comments on Little Esther Bad Baad Girl post for details.

2. Use Keka - http://www.kekaosx.com/en/ - see comments on Johnny Otis Presents post.

Showing posts with label boogie woogie. Show all posts
Showing posts with label boogie woogie. Show all posts

Sunday, 9 February 2020

Lloyd Glenn Presents All Time Favorites (Swing Time LP 1901)






















Side 1:
01) Yancey Special
02) After Hours
03) Chica Boo

Side 2:
01) Pine Top Boogie Woogie
02) Honky Tonk Train
03) Old Time Shuffle






Sometimes serendipity plays a part in the appearance of a post on this blog and here's an example. While doing some background reading for the recent Jay McShann post I came across the information that Jack Lauderdale's Swing Time label had issued a 10 inch LP of Lloyd Glenn sides. Being a fan of early R&B LPs I couldn't resist reconstituting the album. So here it is with artwork adapted from the heritage auction website and mp3s from the Chronological Classics collections which were uploaded by Uncle Gil a few years back.

Some sources give the year of release of this LP as 1954 but the 16th February 1952 issue of The Cash Box announces the imminent release of the album, so February 1952 it is then. All sides on this collection were also released as singles. Full details below. "Old Time Shuffle Blues" and "Chica Boo" were big hits in 1951, so much so that Lloyd Glenn was the 9th best selling R&B artist of that year. "Yancey' Special" although not a national R&B hit sold well in territories in 1952.

 Original Release Information

All sides recorded in Los Angeles 1950-1951. Lloyd Glenn (piano); Billy Hadnott (bass); Bob Harvey (drums). Earl Burton plays bongos on "Chica Boo."

Sinner's Prayer - Lowell Fulson featuring Lloyd Glenn at the "88" / Old Time Shuffle Blues - Lloyd Glenn with the Fulson Unit - Swing Time 237 - November 1950

Jungle Town Jubilee / Chica Boo - Lloyd Glenn at the "88" - Swing Time 254 - March 1951

Yancey' Special / After Hours - Lloyd Glenn's Combo - Swing Time 292 - April 1952

Honky Tonk Train / Pine Top Boogie Woogie - Lloyd Glen's Combo - Swing Time 293 -April / May 1952?

Elsewhere On The Blog

Lloyd Glenn left Swing Time for Aladdin in late 1953 or early 1954. Here is a post of a Pathe Marconi LP of some of his Aladdin sides. The post has a potted biography of Lloyd along with artwork from Joan and El Enmascarado.


More Swing Time / Down Beat R&B shenanigans coming soon! Keep tuning in to Be Bop Wino.
 

Tuesday, 10 April 2018

Joe Turner and Pete Johnson - Jumpin' The Blues


Side 1:
01. Wine-O-Baby Boogie - Joe Turner
02. B & O Blues - Joe Turner
03. Rocket Boogie "88" Part 1 - Pete Johnson & His Orchestra
04. Old Piney Brown's Gone - Joe Turner
05. Baby, Won't You Marry Me - Joe Turner
06. Skid Row Boogie - Pete Johnson & His Orchestra

Side 2:
01. Christmas Date Boogie - Joe Turner
02. Radar Blues - Joe Turner
03. Tell Me Pretty Baby - Joe Turner
04. Rocket Boogie "88" Part 2 - Pete Johnson & His Orchestra
05. Trouble Boogie - Joe Turner
06. Half Tight Boogie - Pete Johnson & His Orchestra






When Big Joe Turner left Decca in 1944 having recorded a series of classic sides from November 1940 to October 1944, he couldn't have foreseen that he would spend nearly seven years hopping from label to label in the search for recording success. In 1945 and 1946 he was with National, in July 1947 he recorded a couple of sides for Imperial ("Ice Man Blues" and "Roll 'em Pete"). In November 1947 he recorded a version of "Around The Clock Blues" for Stag under the pseudonym Big Vernon and in the same month he had a session for Aladdin, and at the end of that month and in early December he had his final sessions for National.

At the end of 1947 he was recorded live at a Gene Norman promoted "Just Jazz" concert for RPM. The AFM recording ban brought a temporary halt to Joe's discographic wanderings, but when he resumed recording in June 1948, it was for yet another label, Jack Lauderdale's Down Beat which was renamed Swing Beat in October 1949 and then six months later Swing Time.

On June 28th, 1948, in Los Angeles, Joe Turner and his longtime collaborator, boogie pianist Pete Johnson, recorded eight sides for release on Down Beat. They were accompanied by what was essentially the Jay McShann band at that time. Personnel - Joe Turner (vocals) with: James Ross, Art Farmer (trumpets); Frank Sleet (alto sax); Pete Peterson (tenor sax); Milburn Newman (baritone sax); Pete Johnson (piano); unknown (guitar); Addison Farmer (bass) Robert Brady (drums).

Four singles were released from the session. Tracking down the original release dates of these singles has proved to be more difficult than usual and indeed there seems to be some contradiction in the information I found. For once I've failed to find label shots for all of the original discs, so I can't be sure of the original artist attribution on the first of these records. Anyway, here goes -

Down Beat 151 - Radar Blues / Trouble Blues presumably issued in 1948.

Down Beat 152 - Wine-O-Baby Boogie / B&O Blues - Joe Turner with orchestral accompaniment featuring Pete Johnson at the "88". This disc was reviewed in Billboard on 28th May 1949 and also featured in an ad in Billboard on 9th April 1949. The take of "B&O Blues" on this LP is probably a different take to the one issued on 78rpm single.

Down Beat 153 - Tell Me Pretty Baby / Christmas Date Boogie - Joe Turner's Orchestra with Pete Johnson at the "88". Release date unknown. Presumably before Christmas 1948. This disc was re-released on Swing Time 269 as "How D'Ya Want Your Rollin' Done" / "Christmas Date" in December 1951 and was credited to Joe Turner, with no mention of Pete Johnson.

Down Beat 154 - Baby Won't You Marry Me / Old Piney Brown's Gone - Joe Turner's Orchestra with Pete Johnson. "Old Piney Brown Is Gone" was number 10 in the Hot In New Orleans chart in The Cash Box magazine on October 9th, 1948. Either this disc was issued before Down Beat 152 or else "Wine-O-Baby Boogie" was issued earlier than the Billboard review and ad of 1949. It may be that all 4 Joe Turner discs were issued in the second half of 1948.

adapted from audiopreservationfund.org

In late 1948 or early 1949 (exact date unknown), Pete Johnson was back in the studio to record some sides for Down Beat, this time without Joe Turner but instead in the company of a group led by Maxwell Davis. Three singles were released from this session, two of which are on this LP. The missing single is Wrinkle Head Boogie / Roadhouse Boogie (Swing Time 175).

Personnel - Jewell Grant (alto sax); Maxwell Davis (tenor sax); Pete Johnson (piano); Herman Mitchell (guitar); Ralph Hamilton (bass); Jesse Sailes (drums).

Down Beat 168 - Skid Row Boogie / Half Tight Boogie - Pete Johnson Sextette. Released in February 1949. The single was featured in Billboard ads on the 12th February and 9th April 1949. "Skid Row Boogie" was number 4 in The Cash Box magazine's "Hot In Other Cities" chart for Merion, Pennsylvania, on March 19th, 1949.

Billboard, 12th February 1949

adapted from Discogs.com

Swing Time 169 - Rocket Boogie "88" Part I / Rocket Boogie "88" Part II - Pete Johnson. Probable release in November 1950. Reviewed in the "Hot Jazz" section of Billboard, 11th November 1950.

adapted from rateyourmusic.com

"Rocket Boogie 88 - Part I" and "Rocket Boogie 88 - Part II" are virtually identical on this LP. It's possible that the "Part - II" issued on the original 78rpm single was a different track.

Joe Turner's label hopping continued after his Down Beat session. In the second half of 1948 he had two Los Angeles sessions for MGM in which he was backed by much the same band which featured in Pete Johnson's Down Beat session. He recorded two sides for the small Coast label with the same musicians in October 1948.

After a barren recording period which lasted most of 1949, he cut sides for Houston label Freedom in December 1949 and early 1950. The 1949 session was with Connie Johnson's band which included Joe Houston, Lonnie Lyons and Goree Carter, while the early 1950 session was backed by the Pluma Davis Orchestra.

April 1950 found Joe in New Orleans recording for Imperial with Dave Bartholomew's band. Joe was then without a recording contract for a year until April 1951 when he was signed by Atlantic. And the rest is history ...

Elsewhere On The Blog







That's all on Joe Turner for the moment. Once I get round to buying a new turntable I'll be able to add another LP with sides from Big Joe's pre-Atlantic years.

Thursday, 5 April 2018

Have No Fear, Big Joe Turner Is Here (2LP)




Side 1:
01. SK Blues, Part 1
02. SK Blues, Part 2
03. Johnson And Turner Blues
04. Johnson And Turner Blues - Master
05. Watch That Jive
06. Howlin' Winds
07. Low Down Dog

Side 2:
01. I Got My Discharge Papers
02. Miss Brown Blues
03. I'm Still In The Dark
04. My Gal's A Jockey
05. I Got Love For Sale
06. Sunday Morning Blues
07. Mad Blues
08. Playboy Blues (aka It's A Low Down Dirty Shame)

Side 3:
01. I'm Still In The Dark
02. Miss Brown Blues
03. Sally Zu-Zazz
04. Rock Of Gibraltar
05. Milk And Butter Blues
06. That's When It Really Hurts
07. I'm Sharp When I Hit The Coast
08. New Wee Baby Blues

Side 4:
01. Nobody In Mind
02. Lucille Lucille
03. Rocks In My Bed
04. Careless Love
05. Last Goodbye Blues
06. Whistle Stop Blues
07. Hollywood Bed
08. Howlin' Winds







An excellent 2LP set containing everything Joe Turner recorded for National between February 1945 and December 1947. The gatefold sleeve has an excellent essay on Joe's life prior to his signing for National as well as a review of the sides on this collection. Warning - this is a larger than usual download as both discs plus artwork are contained in the Zip file. Be prepared for 186 rockin' megabytes.

Joe Turner's long career took him from the clubs of prohibition Kansas City to the Spirituals To Swing concert at Carnegie Hall in 1938 and onwards through the boogie woogie craze, the rise of R&B, and almost unbelievably when in his mid 40s to rock and roll. And when that turned to crap he simply went back to jazz and blues and kept ballin' and squallin' into the 1980s. Through it all he sounded much the same and quite a few of the songs were the same too. All that changed was the backing, and when he fetched up at Atlantic Records in 1951 he was given the best recording facilities and the best backing groups (usually produced and arranged by Jesse Stone), all of which brought him commercial success and a string of R&B hits.

The National sides, while not having the impact that his Atlantic sides would bring, were mostly very good indeed. The January 1946 sides featuring groups led by Wild Bill Moore are raucous but not as focused as the Atlantic material. If you're familiar with the Atlantic stuff and / or Joe's earlier oeuvre, quite a few of these tracks will sound familiar as earlier hits such as "Cherry Red, " "Careless Love" and "It's A Lowdown Dirty Shame" resurface, sometimes under new titles. And of course quite a few of Joe's songs consisted of familiar blues verses mixed into various concoctions. You know what you're going to get - and it's good. All killer, no filler!

Above: dapper Joe in 1944

Above: Joe's longtime collaborator Pete Johnson

Note - the Fax On The Trax section has the song titles as they were on the original releases on 78 rpm singles. Some titles on the LP track list are inaccurate. Joe Turner was never billed as "Big Joe Turner" on these releases. The actual artist attributions are also detailed below.

Fax On The Trax

Side 1, Tracks 1-5: S.K. Blues Part 1; S.K. Blues Part 2; Johnson And Turner Blues; Johnson And Turner Blues -master; Watch That Jive - recorded in NYC, February 2nd, 1945. Personnel: Joe Turner (vocals) with - Frank Newton (trumpet); Don Byas (tenor sax); Pete Johnson (piano); Leonard Ware (guitar); Al Hall (bass); Doc West (drums).

The second take of "Johnson And Turner Blues," labelled "master" on this collection is the released take (National 9011).

S.K Blues Part I / S.K. Blues Part II - Joe Turner with Pete Johnson's All Stars, released on National 9010, February, 1945.

Watch That Jive / Johnson & Turner Blues - Joe Turner with Pete Johnson's All Stars, released on National 9011, April, 1945

Side 1, Tracks 6 and 7: Howlin' Winds; Low Down Dog - recorded in Chicago, May 10th, 1945. Joe Turner with Dallas Bartley and his Small Town Boys. Personnel: Joe Turner (vocals) with - Bill Martin (trumpet); Flaps Dungee (alto sax); Josh Jackson (tenor sax); Pete Johnson (piano); unknown  (guitar); Dallas Bartley (bass); unknown (drums).

Howlin' Winds; Low Down Dog - not issued on singles.

Side 2, Tracks 1-5: I Got My Discharge Papers; Miss Brown Blues; I'm Still In The Dark; My Gal's A Jockey; I Got Love For Sale - recorded in Los Angeles, January 23rd, 1946. Personnel: Joe Turner (vocals) with - Warren Brocken (trumpet); Lloyd Harrison and Wild Bill Moore (tenor saxes); Al Williams (piano); Teddy Bunn (guitar); John "Shifty" Henry (bass); Alray Kidd (drums).

My Gal's A Jockey / I Got Love For Sale - Joe Turner with Bill Moore's Lucky Seven Band, released on National 4002, June 1946.

Rest of this session not released on singles.

Side 2, Tracks 6-8: Sunday Morning Blues; Mad Blues; Playboy Blues - recorded in Los Angeles, January 30th, 1946. Personnel - Joe Turner (vocals) with - Russell Jacquet (trumpet); Wild Bill Moore and Lou Simon (tenor saxes); Camille Howard (piano); Teddy Bunn (guitar); John "Shifty" Henry (bass); Walter Murden (drums).

Mad Blues / Sunday Morning Blues - Joe Turner with Bill Moore's Lucky Seven, released on National 4009, October 1946.

"Playboy Blues" was re-titled "It's A Lowdown Dirty Shame" and released on National 9099 b/w "Nobody In Mind" in January 1950.

Side 3, tracks 1-8 recorded in Chicago, tracks 1-4 (I'm Still In The Dark; Miss Brown Blues; Sally Zu-Zazz; Rock Of Gibraltar) recorded on October 11th 1946. Tracks 5-8 (Milk And Butter Blues; That's When It Really Hurts; I'm Sharp When I Hit The Coast; New Wee Baby Blues) recorded on October 12th 1946. Personnel on tracks 1-4: Joe Turner (vocals) with - Sonny Cohn (trumpet); Porter Kilbert or possibly Tab Smith (alto sax); probably Leon Washington (tenor sax); Albert Ammons (piano); Ike Perkins (guitar); Mickey Simms (bass); Theodore "Red" Saunders (drums).

Similar personnel on Side 3, tracks 5-8, but Albert Ammons drops out, replaced by Rudy Martin (probably).

Miss Brown Blues / I'm Sharp When I Hit The Coast - Joe Turner And His Boogie Woogie Boys, released on National 4011, January 1947.

Rock O' Gibralter / Sally Zu-Zazz - Joe Turner And His Boogie Woogie Boys, released on National 4016, May 1947.

That's What Really Hurts / Whistle Stop Blues - Joe Turner and his Boogie-Woogie Boys, released on National 4017, April 1948.

Above: Billboard, April 1948

Hollywood Bed / New Oo-Wee Baby Blues - Joe Turner, released on National 9100 in February (?) 1950.

Still In The Dark / My Gal's A Jockey - Joe Turner, released on National 9106 in March 1950.

Side 4, Tracks 1-4 (Nobody In Mind; Lucille Lucille; Rocks In My Bed; Careless Love), recorded in Chicago on November 29th, 1947. Personnel: Joe Turner (vocals) with - Charles Gray (trumpet); Riley Hampton (alto sax); Otis Finch (tenor sax); Ellsworth Liggett (piano); Ike Perkins (guitar); Robert Moore (bass); James Adams (drums). 

Side 4, Tracks 5-8 (Last Goodbye Blues; Whistle Stop Blues; Hollywood Bed; Howlin' Winds) recorded in Chicago on December 9th, 1947. Personnel as November 29th session.

Lucille Lucille, Careless Love, and Last Goodbye Blues were not released on singles.

That's What Really Hurts / Whistle Stop Blues - Joe Turner and his Boogie-Woogie Boys, released on National 4017, April 1948.

It's A Lowdown Dirty Shame / Nobody In Mind - Joe Turner, released on National 9099, in January 1950.

Hollywood Bed / New Oo-Wee Baby Blues - Joe Turner, released on National 9100 in February (?) 1950.

Rocks In My Bed / Howlin' Winds - Joe Turner, released on National 9144 in April 1951.

The last Joe Turner release on National. By the time this ad ran he had signed to Atlantic

Elsewhere On The Blog


Joe Turner - Jumpin' Tonight is a Pathe Marconi collection of sides recorded for Aladdin in July and November 1947 and for Imperial in April 1950. Originally posted in October 2009.


Joe Turner - Jumpin' With Joe is a Charly collection of sides recorded for Atlantic from 1951 to 1958. Originally posted in October 2009.

More Joe Turner coming soon. Jump with joy!

Thursday, 8 June 2017

The Beale Street Gang - Back Alley Blues






















Side 1:
01. Lights Out
02. Raising The Roof
03. Jelly Roll Jan
04. Jumpin' In Jack's House
05. Teddy Bear

Side 2:
01. Fatstuff Boogie
02. Lazy Joe
03. Back Alley Blues
04. Red, Red Wine
05. Boogie Grunt

Download from here:

http://www15.zippyshare.com/v/YeZYVGw1/file.html

If you like your R&B stripped down to the basics, if you dig a late night smoky club atmosphere with a small group groovin' on lowdown blues and boogie, if Sonny Thompson's "Long Gone" is your bag, then this is the stuff for you.

"The Beale Street Gang" (occasionally "The Beale Street Boys") was the moniker of several small groups led by pianist Milt Buckner which recorded for Savoy in 1946-48 and again in 1951. While recording these sessions Milt's main musical activity was with the Lionel Hampton big band of which he was an original member, having joined as pianist and arranger in 1941. In 1949 and early 1950 Milt recorded for MGM with his own short lived big band (the sides had a similar sound to that of Hamp), but by October 1950 Milt was back with the Hampton outfit.

The sides on this little comp could therefore be regarded as very much a "side project" and they certainly have a spontaneous feel about them as they consist mainly of basic blues riffing and boogies. It's R&B the way I like it!

In 1952 Milt changed over from piano to the Hammond organ and embarked on a long career playing small group jazz. In the 1950s into the early 1960s he cut material for Capitol, Argo and Bethlehem. From 1966 until his death in 1977 he recorded many LPs for European labels, especially the French label Black & Blue.

The Beale Street Gang sides represent a brief outbreak of raw R&B in between Milt's more well known stints as big band arranger / pianist and organ combo leader. Here's the details, groovers:

"Lights Out" and "Raising The Roof" were recorded in NYC on October 28th, 1946. Personnel: Milt Buckner (piano) with: Pazzuza Simon (tenor sax); Curly Russell (bass); Arthur Herbert (drums).

Lights Out / Raising The Roof was issued on Savoy 653 in July 1947. Credited to The Beale St. Boys then on later issues to The Beale Street Gang.

"Jelly Roll Jan," "Raisin' The Roof" and "Teddy Bear" were recorded in NYC on December 8th, 1947. Personnel: Milt Buckner (piano) with: unknown (trumpet); Ray Abrams (tenor sax); possibly Curly Russell (bass) and possibly Arthur Herbert (drums).

Jelly Roll Jan / Jumpin' In Jack's House was issued on Savoy 669 in August 1948.


"Teddy Bear" was issued as the B Side of Regent 129, probably in October 1948, credited to The Beale Street Gang. The A Side was "Killer Diller" by Gene Coy And His Killer Dillers. This disc was very popular in Jamaica where it was released on Savoy 5555 and later as a 45 on Top Rank.

"Fatstuff Boogie," "Lazy Joe" and "Back Alley Blues" were recorded in NYC on July 11th 1948. Personnel: Milt Buckner (piano) with unknown trumpet, tenor sax, bass and drums.

Fatstuff Boogie / Lazy Joe was issued on Savoy 693 in May 1949.

"Back Alley Blues" was issued as the B Side of "Double Crossin' Blues" by the Johnny Otis Quintette on Savoy 731 in February / March 1950. The original review issue of this disc had "Ain't Nothin' Shakin'" by Leon Sims coupled with the Johnny Otis side, but this seems to have been quickly replaced by The Beale Streeters' opus.

"Double Crossin' Blues" which featured Little Esther and The Robins was a number 1 R&B hit in March and April 1950. In May 1950 it was replaced at the top of the R&B charts by another Johnny Otis disc - "Mistrustin' Blues" which featured Little Esther and Mel Walker.

"Red, Red Wine" and "Boogie Grunt" were recorded in NYC on April 5th, 1951. Personnel: Milt Buckner (piano, vocal) with: Tyree Glenn (trombone); Harold Clark (tenor sax); Reuben Phillips (baritone sax); Aaron Bell (bass); Tim Kennedy (drums).

Red, Red Wine / Boogie Grunt was issued on Savoy 785 in May 1951. Credited to Milton Buckner And His Beale Street Gang.

I first came across The Beale Street Gang when I was reading up on the background to the Savoy LP "Rhythm and Blues Volume 1" which had "Lights Out" credited to Milton Buckner. Read that post for details of how "Lights Out" reappeared in 1954 as "Blue Nights" credited to The Hot Shots.

For an in depth look at this phase of Milt Buckner's career see this website:

http://www.jazzdocumentation.ch/buckner/discography/buckner1.html

For listening it has to be this CD:


Classics 5032. Now out of print but you may be able to pick up a second hand copy. Or visit a certain blog by a certain French uncle and search around!

Tuesday, 13 September 2016

Amos Milburn - Chicken Shack Boogie (re-up)




































































Side A:
01. My Baby's Boogying
02. Amos Boogie
03. Bye Bye Boogie
04. It Took A Long Long Time
05. Chicken Shack Boogie
06. Pot Luck Boogie
07. Jitterbug Fashion Parade

Side B:
01. Roomin' House Boogie
02. Johnson Rag
03. Boogie Woogie
04. Sax Shack Boogie
05. Roll Mr Jelly
06. Grey Hound
07. House Party

Download from:

http://www10.zippyshare.com/v/XbNi61uX/file.html

Original post (April 9th, 2011), which contains recording info, career summary and recommended listening is here:

http://bebopwinorip.blogspot.co.uk/2011/04/amos-milburn-chicken-shack-boogie.html

As I wrote back in 2011 (five and a half years ago - help!), this is probably the best of the Pathe Marconi Amos Milburn collections. Apart from "It Took A Long Long Time", it's non-stop boogie, stomp, sway and rock from Amos, including the original 1948 hit version of "Chicken Shack Boogie." This is another much played LP, so there's quite a few clicks and pops along the way but that's what happens when you use your records the way the Good Lord intended them to be used. This stuff ain't for cataloging and filing away. This is the soundtrack for boozing, dancing and generally raisin' a ruckus. Go for it!

Monday, 12 September 2016

Amos Milburn - Let's Have a Party (re-up)


Side A:
01. Chicken Shack Boogie
02. Trouble In Mind
03. I Know You Love Me
04. Good Good Whiskey
05. Rocky Mountain
06. Let's Rock Awhile
07. Down The Road Apiece

Side B:
01. Bewildered
02. One Scotch, One Bourbon, One Beer
03. Let's Have A Party
04. I'm Still A Fool For You
05. Bad Bad Whiskey
06. My Happiness Depends On You
07. All Is Well

Download from:


Original post (May 19th, 2010) is here:


This is the first of the Pathe Marconi Amos Milburn collections which I bought way back in the 1980s. I think I fell in love with the LP as soon as I spotted it in the record shop. That front cover was originally used on the 1957 LP of the same title on Score, a subsidiary label of Aladdin and is pure 1950s "glam", an approach to sleeve design which probably reached its peak on a series of blues albums on the Crown label.

This is the LP which got me hooked on Amos Milburn. It wasn't the first Amos LP I bought, that was a beat up copy of the UA "Chicken Shack Boogie" compilation from the late 1970s. But "Let's Have A Party" had it all - great artwork and crystal clear sound reproduction. With one strange exception - "Let's Rock A While" is curiously muffled. I have the same track with the same sound problem on the 3CD collection "Blues, Barrelhouse & Boogie Woogie." I wonder if the original record was like that?

The version of "Chicken Shack Boogie" on this LP is not the original 1947 hit recording, despite what the sleeve notes say. It is in fact the 1956 re-recording featuring searing sax work from Lee Allen and Red Tyler. Surely one of the greatest rock'n'roll records ever committed to wax. Naturally it sold zilch.

This has been a much-played LP, so of course there are some clicks, pops and rumbles, but it's still "as fine as wine, and really on the ball!"

Wednesday, 8 October 2014

Jump Man, Jump!




Side 1
1 Gene Phillips - Hey Now
2 Bobby Smith - Don't Shake Those Hips At Me
3 Frank Culley - Hop 'N' Twist
4 Dave Bartholomew - Cat Music
5 Varetta Dillard - Mercy Mr Percy
6 Camille Howard - Bangin' The Boogie
7 Harry Crafton - Big Fat Hot Dog
8 Little Esther with Little Willie Littlefield - Turn The Lamps Down Low

Side 2
1 Big Maybelle - New Kind Of Mambo
2 Jimmy Preston - Estellina Bim Bam
3 Pee Wee Crayton - Huckle Boogie
4 Kenzie Moore - Let It Lay
5 Benny Brown - Pappa
6 Paul Williams - Spider Sent Me
7 Gay Crosse - Fat Sam From Birmingham
8 Lil Armstrong - Rock It

All tracks ripped from vinyl @320 kbps

Download from:

http://www6.zippyshare.com/v/26187579/file.html

It's time for another Be Bop Wino compilation of late 40's and early 50's R&B, mainly drawn from the stash of vinyl I digitized during my recent long absence from posting.  The "Juke Joint Jukebox" blues comp was drawn from tracks digitized during the same period but now we find ourselves back in the Boogiewoody comfort zone with this selection of jump blues, boogie, and sax driven rockin' R&B. Mind you, there's a smattering of West Coast style blues guitar courtesy of Gene Phillips and Pee Wee Crayton on LA's Modern label.

Basic track details are listed below but here are a few observations on some of the tracks, in no particular order.

Guitarist, blues shouter and songwriter Harry Crafton recorded for Gotham in the late forties and early fifties. He was also a member of the semi legendary Nite Riders Orchestra along with Doc Starkes, Harry Van Walls and Melvin Smith. Dripping with double entendre, "Big Fat Hot Dog" features a fine vocal performance by Agnes Riley.

Boogie pianist Camille Howard was a mainstay of Roy Milton's Solid Senders, but also had her own parallel solo recording career. In a similar vein, Erskine Hawkins Orchestra alto saxman Bobby Smith had a parallel recording career in which he led a small band of Hawkins sidemen which recorded for Apollo in 1949-50. "Don't Shake Those Hips at Me", recorded after the Smith band moved over to the Ruby label features the tenor sax of Sam "The Man" Taylor. Benny Brown's "Pappa" is an answer record to Ruth Brown's big 1953 hit on Atlantic "Mama (He Treats Your Daughter Mean)".

And so to Jimmy Preston's "Estellina Bim Bam". Anyone up for a humorous take on habitual domestic abuse? It has a very catchy melody but to my ears the lyrics are extremely unsettling. Perhaps back in 1950 many people would have considered the record to be comedy but nowadays it would be the subject of a thesis on its underlying subtext of misogyny and possible racism. However, on Be Bop Wino we present the recordings of the 1940's and 1950's as they were, rather than as we would like them to have been, so despite my doubts the recording is included on the compilation.

Pianist, bandleader and singer Lil Armstrong (Lil Hardin) was a member of King Oliver's band where she met and married Louis Armstrong in 1924. They divorced in 1932 and Lil went on to build a successful career as an accompanist and bandleader, recording for Decca from 1936 to 1940. Her theme tune was "Brown Gal" (Decca, 1936) which she rerecorded for Gotham in 1947. At the same session she recorded "Rock It", a frantic piece of double entendre, the final verse of which is the unforgettable:

"Yeah, he rocked me sittin', he rocked me lyin',
If I'd a had wings, he'd a rocked me flyin'."

Nothing can follow that.


The tracks (artist, title, original issue, year of recording):

1 Gene Phillips - Hey Now: Modern 20-558, 1948

2 Bobby Smith - Don't Shake Those Hips At Me: aka Shake Your Hips, Ruby 102, 1951

3 Frank Culley - Hop 'N' Twist: aka Fish Tail, Atlantic 902, 1949

4 Dave Bartholomew - Cat Music: Imperial 5308, 1954

5 Varetta Dillard - Mercy Mr Percy: Savoy 897, 1953

6 Camille Howard - Bangin' The Boogie: Specialty 404, 1951

7 Harry Crafton (w Agnes Riley) - Big Fat Hot Dog: Oscar 106, 1954

8 Little Esther with Little Willie Littlefield - Turn The Lamps Down Low: Federal 12115, 1952

9 Big Maybelle - New Kind Of Mambo: Okeh 7069, 1954

10 Jimmy Preston - Estellina Bim Bam: Gotham 240, 1950

11 Pee Wee Crayton - Huckle Boogie: Modern 20-742, 1950

12 Kenzie Moore - Let It Lay: Specialty 456, 1953

13 Benny Brown - Pappa: Gotham 293, 1953

14 Paul Williams - Spider Sent Me: Savoy 670, 1948

15 Gay Crosse - Fat Sam From Birmingham: alternate take of Gotham 279, 1952

16 Lil Armstrong - Rock It: Gotham 256, 1947

Saturday, 9 April 2011

Amos Milburn - Chicken Shack Boogie





Side A
1. My Baby's Boogying
2. Amos’ Boogie
3. Bye Bye Boogie
4. It Took A Long Long Time
5. Chicken Shack Boogie
6. Pot Luck Boogie
7. Jitterbug Fashion Parade

Side B
1. Roomin' House Boogie
2. Johnson Rag
3. Boogie Woogie
4. Sax Shack Boogie
5. Roll Mr Jelly
6. Grey Hound
7. House Party

This is the fifth of the Pathe Marconi Amos Milburn LPs to be posted on the blog and I believe that the set is now complete. I can say that I’ve saved the best till the last, for this collection of classic tracks rocks, rolls, pounds and boogies in a merciless onslaught of the finest rhythm and blues you’ll hear anywhere.

The only break is provided by the slower “It Took A Long Long Time” at track 4. From track 5, which is the original hit version of “Chicken Shack Boogie,” there is simply no letup as Amos shouts the blues and pounds that piano to the blasting tenor sax accompaniment of studio bands led by the great Maxwell Davis or else his road band, The Aladdin Chicken-Shackers.

This is a collection which spans Amos’ successful years with Aladdin, beginning with his first session for the label in September 1946 and ending in 1955, by which time the hits had dried up. He was born in Houston, Texas, in 1927, into a family of twelve children. After war service in the Pacific, he became the main breadwinner for the family and took up music professionally, forming a small combo which played the clubs around the Houston area. While playing at the Keyhole Club in San Antonio he was spotted by Lola Anne Cullum (the wife of a Houston doctor) who was something of a promoter on the local music scene. Taking the young Amos under her wing, Mrs Cullum soon had him relocated to Los Angeles and signed up with Aladdin Records.

From that first session under the supervision of Maxwell Davis, “My Baby’s Boogying” achieved good sales locally. In the next year or so Amos laid down a mix of boogies, salacious double entendre blues and the occasional ballad which sold well enough but it wasn’t until November 1948 that real success came along when “Chicken Shack Boogie,” which he’d recorded in late 1947 just prior to the AFM recording ban, stormed to the top of the R&B charts. This kicked off a remarkable series of hits for Amos which lasted from 1949 through to 1954 when “Good Good Whiskey,” the last in a series of drink related hits, (“Bad Bad Whiskey,” “One Scotch, One Bourbon, One Beer,” etc.) charted.

Like many of his contemporaries, Amos was left behind by changing fashions in R&B and the advent of rock and roll. In 1956 he recorded in New Orleans with top musicians such as Lee Allen and Earl Palmer in an attempt to reboot his flagging career. This session produced one of the greatest rock and roll records of all time – a searing remake of “Chicken Shack Boogie” but it didn’t sell. The Aladdin contract was not renewed in 1957.

Towards the end of the 1950s Amos hooked up with his old buddy Charles Brown for live appearances and a single on Ace, “I Wanna Go Home,” / “Educated Fool.” Sam Cooke’s “Bring It On Home To Me” was heavily based on “I Wanna Go Home,” but for Brown and Milburn there was to be not a hint of the success that Cooke would have with his version.

Amos recorded for King and Motown between 1960 and 1967, but nothing sold. As the 60s became the 70s, increasing ill health including two strokes and a leg amputation blighted the remaining years of his life which came to a close on January 3rd, 1980.

Ripped from vinyl at 320 kbps.

Download from here:

http://www10.zippyshare.com/v/XbNi61uX/file.html

Amos Milburn (piano and vocal) on all tracks.

Los Angeles, September 12th, 1946. Unknown g, b, dm. Maxwell Davis (ts) present at session:

1. My Baby's Boogying (Aladdin 160)
2. Amos’ Boogie (Aladdin 173)

Los Angeles, October 27th, 1947. Maxwell Davis (ts), possibly Gene Phillips (g), unknown b and dm:

3. Bye Bye Boogie (Aladdin 206)
6. Pot Luck Boogie (Aladdin 3026)

Los Angeles, November 19th, 1947. Maxwell Davis (ts), unknown g, b and dm:

5. Chicken Shack Boogie (Aladdin, 3014)

Los Angeles, December 18th, 1947. Maxwell Davis (ts), probably Frank Heywood (g), unknown b and dm:

4. It Took A Long Long Time (Aladdin 3014)

Los Angeles, February 28th, 1949. Maxwell Davis (ts), Gene Phillips (g), Ralph Hamilton (b), Jesse Sailes (dm):

7. Jitterbug Fashion Parade (Aladdin 3023)

Los Angeles, July 13th, 1949. Maxwell Davis (ts), Chuck Norris (g), Ralph Hamilton (b), Lee Young (dm):

8. Roomin' House Boogie (Aladdin 3032)

Los Angeles, December 19th, 1949. Amos Milburn and his Aladdin Chicken-Shackers – Don Wilkerson (ts), Billy Smith (ts), Willie Simpson (bs), Johnny Brown (g), Harper Cosby (b), Calvin Vaughan (dm):

9. Johnson Rag (Aladdin 3049)
10. Boogie Woogie (Aladdin 3105)

Los Angeles, January 4th, 1950. Amos Milburn and his Aladdin Chicken-Shackers – Don Wilkerson (ts), Billy Smith (ts), Willie Simpson (bs), Johnny Brown (g), Harper Cosby (b), Calvin Vaughan (dm):

11. Sax Shack Boogie (Aladdin 3064)

Los Angeles, January 30th, 1952. Willie Smith (ts), Bill Hill (ts), Leroy Robinson (as and bs), Wayne Bennett (g), Leonard Sonny Williams (b), Eldeen McIntosh (dm):

12. Roll Mr Jelly (Aladdin 3133)

Los Angeles, August 21st, 1952. Maxwell Davis (ts), unknown bs, g, b and dm:

13. Grey Hound (Aladdin 3150)

Los Angeles, July 25th, 1955. Amos Milburn and his Aladdin Chickenshackers – Arnett Sparrow (tb), Eddie Chamblee (ts), Joe Evans (bs), Irving Ashby (g), possibly Red Callender (b), possibly Rufus Jones (dm):

14. House Party (Aladdin 3306)

Mo’ Amos –

On the blog – the other 4 Amos Milburn Pathe Marconi LPs are shown below:





That gives you quite a helping of Amos but there is much more to explore. Try to hunt down and purchase the following CDs:

"Amos Milburn Rocks!" (Bear Family) is probably the current best single CD overview of his career:


The Revola CD "Let's Have A Party" is a compilation of 1950s sides recorded for Aladdin:


If you wish to explore the career of Amos Milburn in depth (and who wouldn't?), then the Chronological Classics series covers 1946 - 1953 in 5 CDs. The first CD, 1946 - 1947, may be hard to obtain. The succeeding four are available at Amazon.co.uk, some as mp3 downloads.


Now sadly out of print, but still one of my all time favourite R&B CDs, is the Capitol Blues Collection 3CD set ""Blues, Barrelhouse & Boogie Woogie." 66 tracks and superb liner notes by Mark Humphrey. Still available as a surprisingly cheap mp3 download from Amazon, but if you find a second hand copy at a reasonable price, buy it.